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Post pictures of your portable recording equipment
Old 18th June 2019
  #1651
Gear Addict
 

Quote:
Originally Posted by studer58 View Post
The dropout aspect could be a deal breaker for some

After using various computer rigs and having issues from time to time in the past, I switched to an hd24XR for all of my live recordings and never once had an issue. I do not like dealing with a computer in a live recording situation. Now I'm using two Tascam hsp-82s for live jazz recordings. You can probably guess which one has been to the Amazon rainforest, doused in salt water while deep water fishing, and generally been beaten up on dozens of film shoots...never once skipped a beat, so I didn't hesitate buying a second when I wanted 16 channels. I think it's a very underrated recorder.
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Last edited by over-man; 18th June 2019 at 08:14 AM..
Old 18th June 2019
  #1652
Lives for gear
Quote:
Originally Posted by over-man View Post
After using various computer rigs and having issues from time to time in the past, I switched to an hd24XR for all of my live recordings and never once had an issue. I do not like dealing with a computer in a live recording situation. Now I'm using two Tascam hsp-82s for live jazz recordings. You can probably guess which one has been to the Amazon rainforest, doused in salt water while deep ocean fishing, and generally been beaten up on dozens of film shoots...never once skipped a beat, so I didn't hesitate buying a second when I wanted 16 channels. I think it's a very underrated recorder.
Yes that's a good point about getting away from computers and their Achilles Heel of dropouts, clicks etc....provided the alternative has great preamps, converters etc....as your pair of Tascams seem to have ! I'm assuming the transports and word clocks are tied, so that one device acts as master for the pair ?

In your case the biggest drawbacks are probably the combined cost and weight of the 2 recorders ?
Old 18th June 2019
  #1653
Gear Addict
 

Quote:
Originally Posted by studer58 View Post
I'm assuming the transports and word clocks are tied, so that one device acts as master for the pair ?

In your case the biggest drawbacks are probably the combined cost and weight of the 2 recorders ?
Word clock and timecode are linked as master / slave, but right now I have to start each independently. I'm not sure if there's a firmware update to fix that. I just bought the second a few weeks ago and haven't dug in yet since it's easy to align in post.

Downsides are weight and size, which is one reason why not many film people use them in a bag on set. I've used one like that in rough situations plenty of times, and it's heavy after a long day, but definitely workable. I actually prefer the overall layout and sound to the Sound Devices 788.

The other downside, potentially far bigger, is not being able to monitor both units at the same time...right now we feed a small mixer for a live broadcast, so I can listen to that if I want. I'm wondering if I can make some kind of cable to combine both outputs into a single pair of headphones without damaging anything...

I've had the first unit for over 5 years, and the price has dropped significantly since then, so it was an easy choice for me. If I were starting from scratch, I'm not sure which direction I would go.
Old 18th June 2019
  #1654
Here for the gear
I did try to link a second photo - the miking was a little unorthodox (I couldn't persuade them to go for the brass and choir facing each other so had to move the stereo pair of wide cardioids in front of the conductor and over the top of the brass. Worked a treat actually!

Miking 1 Miking 2

It was a pair of CM3s in the centre (over-sized ORTF), OM1 outriggers, spaced pair of OM1s on the organ, two M5s as brass section mics. NT5s on the choir (cardioid) with an sE4400 in the middle on figure-8 (also used as a choir solo spot), and an NT1-A in the back as a bass spot. NT1-a on the timps and an M5 on aux perc. (one of my M5s was being troublesome and was relegated to conductor listening duty only!)

A bargain-basement setup (I am planning to upgrade some more soon when funds allow) but it does sound pretty good, at least to my ears. I'll see if I can post an extract at some point.

RE: dropout - I need to get to the bottom of it - could well be a USB port issue.
Old 18th June 2019
  #1655
Lives for gear
Quote:
Originally Posted by over-man View Post
Word clock and timecode are linked as master / slave, but right now I have to start each independently. I'm not sure if there's a firmware update to fix that. I just bought the second a few weeks ago and haven't dug in yet since it's easy to align in post.

Downsides are weight and size, which is one reason why not many film people use them in a bag on set. I've used one like that in rough situations plenty of times, and it's heavy after a long day, but definitely workable. I actually prefer the overall layout and sound to the Sound Devices 788.

The other downside, potentially far bigger, is not being able to monitor both units at the same time...right now we feed a small mixer for a live broadcast, so I can listen to that if I want. I'm wondering if I can make some kind of cable to combine both outputs into a single pair of headphones without damaging anything...

I've had the first unit for over 5 years, and the price has dropped significantly since then, so it was an easy choice for me. If I were starting from scratch, I'm not sure which direction I would go.
Already addressed in this thread not long ago: Synchronizing Tascam HS-P82 with Zoom F8/n during recording

It seems that the Japanese are not afraid to to daisy chain between 7 and 11 of them together (!), and one of the links here mentions the possibility of Y linking a keyboard to allow a start/stop command to be shared between at least 2 Tascams:
https://www.e-onkyo.com/news/302/
http://www.bosc.jp/wp-content/upload...2012-Omoto.pdf
https://jwsoundgroup.net/index.php?/...rt-recording/&

Edit: In the Onkyo link above, for the concert recording it looks like they also employed 6 x RC-F82 controllers, one for each recorder, then feeding into the DM3200, so it's a relatively complex live mix (for radio/TV ?)

The controller/mixers add significantly to the cost also: https://www.keymusic.com/item/tascam-rcf82/

I like the Omoto PDF link, an outdoor rig with racks of the recorders, for capturing cicada sounds across 80 tracks !

Last edited by studer58; 18th June 2019 at 11:37 AM..
Old 18th June 2019
  #1656
Lives for gear
Quote:
Originally Posted by tenorfran View Post
I did try to link a second photo - the miking was a little unorthodox (I couldn't persuade them to go for the brass and choir facing each other so had to move the stereo pair of wide cardioids in front of the conductor and over the top of the brass. Worked a treat actually!

Miking 1 Miking 2

It was a pair of CM3s in the centre (over-sized ORTF), OM1 outriggers, spaced pair of OM1s on the organ, two M5s as brass section mics. NT5s on the choir (cardioid) with an sE4400 in the middle on figure-8 (also used as a choir solo spot), and an NT1-A in the back as a bass spot. NT1-a on the timps and an M5 on aux perc. (one of my M5s was being troublesome and was relegated to conductor listening duty only!)

A bargain-basement setup (I am planning to upgrade some more soon when funds allow) but it does sound pretty good, at least to my ears. I'll see if I can post an extract at some point.

RE: dropout - I need to get to the bottom of it - could well be a USB port issue.
It looks like you've covered all the significant contenders with spots, and the wide ORTF pair of CM3's is a good main pair choice.

I'm wondering if those arched alcove areas might have cut down some of what could have been an over-reverberant acoustic, as the ceilings look quite high in the main body of the church...although the players fortunately haven't spread too wide in occupying the space ?

Are you recording to a Macbook or PC laptop ?

Last edited by studer58; 18th June 2019 at 09:39 AM..
Old 18th June 2019
  #1657
Here for the gear
Quote:
Originally Posted by studer58 View Post
It looks like you've covered all the significant contenders with spots, and the wide ORTF pair of CM3's is a good main pair choice.

I'm wondering if those arched alcove areas might have cut down some of what could have been an over-reverberant acoustic, as the ceilings look quite high in the main body of the church...although the players fortunately haven't spread too wide in occupying the space ?

Are you recording to a Macbook or PC laptop ?
Yes - I'm in the first edit stage (not really touched the mix other than getting some more sensible levels for listening). The church has quite a nice (but not overly reverberant) acoustic, dampened also somewhat by an enormous tapestry hung over the Narthex at the West end. The tail from the really loud chords is lovely (think large-ish concert hall) but for my money the acoustic sounds a little bit boxy/small in the quieter moments. Some creative use (think automation) of reverb (esp. on the choir spots, which I've bussed together) ought to fix that.

The brass spots pick up the definition otherwise lost in the CM3 pair, but there's a nice amount of brass already in the omni outriggers. The tuba is picked up quite nicely in the CM3 pair being directly underneath it.

I also had some trumpet and organ only stuff to do, so I used the organ spots (this time with a narrower spacing of about 1m and a lower height of 3m) as an AB omni pair and spotted the trumpet (which I had face the organ) with the sE 4400a on cardioid. That's worked quite well. The brass only items were done with the ORTF pair abeam the outriggers, and one of the spots focused more on the French Horn and Tuba which were in the centre of the semi-circular formation. I'm sorry there aren't more pictures, but it was my first time running a session of that scale and it was all hands on deck with a particularly tight schedule!

The biggest annoyance is the noisy organ blower and some occasionally buzzy lights, but that's location recording for you I guess!

To answer your laptop question - it's a 2015 Macbook Pro 13". I've been doing some reading and it seems my dropout issue may be connected to auto time updates. Need to see if I can replicate the problem at home...

Last edited by tenorfran; 18th June 2019 at 12:12 PM.. Reason: additions...
Old 18th June 2019
  #1658
Lives for gear
At least having those key spot mics in your multitrack array lets you massage them in as needed...much better than not having them and relying just on a main pair plus outriggers...although sometimes that's all one gets time to rig for ?

Sometimes you can just reach in and hammer the distracting blower noises, traffic etc only when it becomes perceptible, and leave it alone when the band drowns it out.

Turning off wireless networking, clock updates (), bluetooth and other scheduled or background services in your Macbook can be all thats needed to silence the usb 'chatter' running inside your Macbook... alongside your DAW.

I did see a setting that could help, in your ESI interface ....see the 2 dark screenshots halfway down this page: http://reviewrevival.weebly.com/revi...udio-interface

I'll add it as a pic below also....but you can see there's a drop-down menu called 'Dropout Protection' ... and they've got theirs set to minimum...I think I'd be inclined to change that !

Make sure you're running the latest driver from the ESI downloads page too...then you can do your experiments to trade-off processing block size and latency to give yourself maximal stability

EDIT: Ooops, sorry...that's the Studio One DAW preferences screenshots, not the ESI set ! You're using Audition, which may have fewer variables to tweak ?

However, regardless of the DAW you're using, the general principles outlined in this article below can certainly help: https://www.soundonsound.com/techniq...rs-low-latency
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Last edited by studer58; 18th June 2019 at 03:05 PM..
Old 18th June 2019
  #1659
Gear Addict
 

Quote:
Originally Posted by studer58 View Post
Already addressed in this thread not long ago: Synchronizing Tascam HS-P82 with Zoom F8/n during recording….
I like the Omoto PDF link, an outdoor rig with racks of the recorders, for capturing cicada sounds across 80 tracks !

I was part of that thread when trying to decide which route to take, and glad I went with the second hsp-82. The keyboard trick seems ok, but I'd really rather not have another piece of gear to bring with me, and aligning in post just isn't hard at all. Monitoring both without having to use a small mixer is actually my main problem right now.

I've seen those live recording rigs before but wasn't aware of that massive 80 channel array! I've been working with ambisonics for a few years but can't imagine an 80 channel rig...that's just a crazy looking setup. You could do the same thing now with 5 Sound Devices Scorpios though.
Old 19th June 2019
  #1660
Here for the gear
Thanks Studer for all of these really helpful suggestions! I will have a good look at the article you've linked there. Re: use of spot mics, I would normally try to do the bulk of the work with the main pair/outriggers, but in a session environment (as opposed to a concert) it seems churlish to deprive myself of the opportunity to sort balance/focus problems after the fact, particularly if there's not a great deal of time to experiment with main pair placement. So far I haven't regretted putting up most of the mics I did, at least for certain points in the music (even if they're not being used all of the time), especially the choir section and organ mics. The brass and percussion spots are less crucial given their greater proximity to the main array.
Old 19th June 2019
  #1661
Lives for gear
Yes, spots are not all about making the piccolo or the triangle louder in the mix .....it's more about leveraging sections of the whole, so that they balance against one another better than a main pair would allow alone.

Often it doesn't take much to achieve this...it's like edging forward or back on a see-saw by cms/inches, when both seated people are equal weight ! These shifts are best done dynamically, via fader riding or automation as needed, not a set and forget thing.
Old 20th June 2019
  #1662
Here for the gear
Wise words! I've made buses for the spots/section mics of the main three elements (brass, choir, organ), so I'll set the internal balance by soloing these buses and then use as much of them as I need to supplement the mains & outriggers.

Back on concert recording this weekend - recording a choral concert I'm singing in on Saturday. Back in a big neo-Gothic cathedral with a big acoustic. Second time out recording this gig - not sure whether to go for the Zoom or the ESI! Lots of cable required...
Old 26th June 2019
  #1663
Lives for gear
 
Plush's Avatar
Pics from a live broadcast of violin and piano. That eve I was testing a Gyraf Audio Gyratec IX tube mic pre. I used it to power the two Coles 4038 mics (which were boosted by a Cloudlifter).

Violin tone was super appealing with a thickness and harmonically rich quality that was lauded by all.

I set up my Neve console in the studio itself to avoid polluting my sound with the Avid S5 console at the station. Used BeyerDynamic 1770 closed phones to monitor.

The broadcast was done from the WFMT Radio Studio 1 in Chicago.

I did end up buying the Gyraf mic pre. Demo courtesy Frank Oglethorpe at
OneF Sound.
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Old 26th June 2019
  #1664
Plush, a couple of questions...

Were you using the NTRs? If so I'd be interested in your opinion.
I'm curious, you were combining the cloudlifters with the tube preamp? does the preamp not offer enough gain? And do you find the cloudlifters to be transparent?
Old 26th June 2019
  #1665
Gear Head
Also interested in your impression of the Gyraf in comparison with the stereo Edwards amp, Hudson. Still enjoying the one you sold me! Mixing (right now!) a children's choir record with parallel spaced Samar VL37a as near-mains, similar to your setup, but run thru the Edwards. It's lovely. And for the ribbons, more gain than I could wish for with the trims out...
Old 27th June 2019
  #1666
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Plush's Avatar
Quote:
Originally Posted by TMetzinger View Post
Plush, a couple of questions...

Were you using the NTRs? If so I'd be interested in your opinion.
I'm curious, you were combining the cloudlifters with the tube preamp? does the preamp not offer enough gain? And do you find the cloudlifters to be transparent?
Greetings, Playa

Yes, I used the Rode NTR mics at the foot of the piano (Decca style). The NTR ribbons went into the Tube-Tech rack and the PM1A vacuum tube mic preamps in the rack. The NTR mics have plenty of gain and can be used without any booster amps like a Cloudlifter. Internally, the NTR mics have a phantom powered amplifier built in. So they are not a typical low output ribbon mic.

The Coles 4038 pair, however, are a different story. They are very low output and need a booster amp--in this case the Cloudlifter. The Gyraf Audio preamp maxes out at about 60 dB of gain, so this is a little low to amplify the Coles mics.

Cloudlifter is a very good unit with a lifetime warranty. Neutral and nonintrusive to the sound of the microphone. Cloudlifter offers 25dB of gain so that preamps do not have to be cranked full up.

The Coles mics as used here picked up almost no piano sound and offered a rich and thick violin pick up.
Old 27th June 2019
  #1667
Lives for gear
 
Plush's Avatar
Quote:
Originally Posted by Klimermonk View Post
Also interested in your impression of the Gyraf in comparison with the stereo Edwards amp, Hudson. Still enjoying the one you sold me! Mixing (right now!) a children's choir record with parallel spaced Samar VL37a as near-mains, similar to your setup, but run thru the Edwards. It's lovely. And for the ribbons, more gain than I could wish for with the trims out...
I am a purist when it comes to vacuum tube equipment. I want to use a preamplifier that does not have any silicon in the signal path. Pure tube sound, please.

The Gyraf Audio Gyratec IX is such an all tube preamp.
I do not know if the Edwards Audio LE-10 is also of that design.

Edwards is an excellent preamp and is very clean sounding for a tube preamp. This is one of its strengths as it offers pure tone according to the sound of the source. I like the Edwards preamp a lot. It has the distinct benefit of offering a good bit of gain--over 75dB of gain.

Gyraf is a much more colored sounding unit and is used to thicken and enhance the girth of the source sound. It is a V72 type sound. It offers about 60 dB of gain which is typical of many vacuum tube preamps.

Both units have their place in classical recording.

The other vacuum tube unit used on the broadcast was a Tube-Tech rack containing two PM1A tube preamps. These are super clean and fast and have little tube modus sound. Instead pure delivery of the source sound.
Old 27th June 2019
  #1668
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cjogo's Avatar
24 inputs -- all self contained
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Old 4th July 2019
  #1669
Gear Nut
 

Using the day off to test out a rig for a recording this weekend. Gonna be recording and running FOH through Reaper on a 2013 MBP connected to the 8A via thunderbolt. 24Ai connected to the 8A via Ethernet. 24 inputs. 6 headphone feeds.
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Old 4th July 2019
  #1670
Lives for gear
 

Quote:
Originally Posted by cjogo View Post
24 inputs -- all self contained
i got one of these in my cellar somewhere - not mine and i have no idea who left it there! anyway, pm me if interested; happy to give it away for free... :-)

___


more to my needs is this ssl recorder (see pics) - looks dumb but does quite a lot in terms of tracks; gets fed straight from the stageboxes, no desk needed. redundant recording into nuendo via rme madiface xt.
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Old 4th July 2019
  #1671
Lives for gear
 
cjogo's Avatar
Quote:
Originally Posted by deedeeyeah View Post
i got one of these in my cellar somewhere - not mine and i have no idea who left it there! anyway, pm me if interested; happy to give it away for free... :-)


___

.
Danke ---- sent you a PM

Great for live --- 24 inputs ~~ ready to go === walk in under your arm
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Old 4th July 2019
  #1672
Lives for gear
 

Quote:
Originally Posted by cjogo View Post
Great for live --- 24 inputs ~~ ready to go === walk in under your arm
i can't say exactly the same of my gear, certainly not 'under my arms'... - some of the previous poster's gear seems to be much more easy to transport though!

looking nice your room! do you record in there? how does it sound?
Old 4th July 2019
  #1673
Lives for gear
 
cjogo's Avatar
https://youtu.be/NRQQY-b-g8g?list=UU...wuixYuOItixcqQ
Quote:
Originally Posted by deedeeyeah View Post
i can't say exactly the same of my gear, certainly not 'under my arms'... - some of the previous poster's gear seems to be much more easy to transport though!

looking nice your room! do you record in there? how does it sound?
Recorded 4 years at this studio -- Big Sur CA

This fabulous studio came "with" a Roland VS 2480 installed ... So easy for me to slide right into to the engineers seat ....


https://youtu.be/NRQQY-b-g8g?list=UU...wuixYuOItixcqQ

Last edited by cjogo; 4th July 2019 at 11:47 PM..
Old 4th July 2019
  #1674
Lives for gear
 
cjogo's Avatar
We insert (pigtail) between each members vocal /instrument == so the band maintains their live sound they have set ... and we have direct outs of the whole band. We add a two mics for room capture ==to blend a final mix ..

Just a Roland VS 2480 /snake and XLR to whatever each member has a input ..


IE direct outs of stereo keyboard -- sample laptop --- DI out of amps -- all vocals ~~ etc ..
Old 8th July 2019
  #1675
Lives for gear
Keep it simple
Reduced the size of my trolley to fit my Skoda Karoq
The local genius (Mr Weld ) took one shelf off and reduced its length for 15 quid...
Travelling as light as possible, no cable drums, smaller stands
2 x MKH 800s as spots....

Roger
Did a lovely Haydn Sunrise and a two piano Rite of Spring so far.
Very wonderful performances.
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Old 8th July 2019
  #1676
Lives for gear
Quote:
Originally Posted by Rolo 46 View Post
Keep it simple
Reduced the size of my trolley to fit my Skoda Karoq
The local genius (Mr Weld ) took one shelf off and reduced its length for 15 quid...
Travelling as light as possible, no cable drums, smaller stands
2 x MKH 800s as spots....

Roger
Did a lovely Haydn Sunrise and a two piano Rite of Spring so far.
Very wonderful performances.
That's the very definition of "Travelling Light" Roger ! Do you just coil your cable and carry it in one of your cases...and perhaps strap your stands to the trolley as well ?
Old 8th July 2019
  #1677
Lives for gear
Yep
Stereo 6 pin Canare SQ, 2 x 10m, 2 x 5m
Mono Canare 2 x 10m , 2 x 5m
2x HD 25 II
1 MD 441
A splitter
2 X MKH 40
2 X DPA 4060
Blu Tak,Gaffa, WD40.
LED headlamp.
All in the PortaBrace
2 x Mic stands with booms.
64 Gb CF in the Nagra VI.
Old 8th July 2019
  #1678
Lives for gear
 
tourtelot's Avatar
Quote:
Originally Posted by Plush View Post
Cloudlifter is a very good unit with a lifetime warranty. Neutral and nonintrusive to the sound of the microphone. Cloudlifter offers 25dB of gain so that preamps do not have to be cranked full up.

Ugh! Certainly not my experience. Self noise for days, at least on a Royer SF12. Couldn't dump them fast enough. I am about to try the new Royer dBooster. I have hope.

D.

FETHeads were a better, but not great alternative to the Cloudlifters. Good solid state mic amps are still the best choice. "Color" in a classical recording. Color is why violins are made of wood and not plastic.
Old 8th July 2019
  #1679
Lives for gear
Quote:
Originally Posted by tourtelot View Post
Ugh! Certainly not my experience. Self noise for days, at least on a Royer SF12. Couldn't dump them fast enough. I am about to try the new Royer dBooster. I have hope.

D.

FETHeads were a better, but not great alternative to the Cloudlifters. Good solid state mic amps are still the best choice. "Color" in a classical recording. Color is why violins are made of wood and not plastic.
Doug, you might be interested in the performance of this new kid on the block...it apparently measures very well indeed. If the appearance bothers you, well...there's always your Krylon Ultra Flat Black solution !

https://www.soundonsound.com/reviews...s-dm1-dynamite

For comparison, here's their CloudLifter review: https://www.soundonsound.com/reviews...s-cloudlifters
Old 8th July 2019
  #1680
Lives for gear
 

Quote:
Originally Posted by tourtelot View Post
Ugh! Certainly not my experience. Self noise for days, at least on a Royer SF12. Couldn't dump them fast enough. I am about to try the new Royer dBooster. I have hope.

D.

FETHeads were a better, but not great alternative to the Cloudlifters. Good solid state mic amps are still the best choice. "Color" in a classical recording. Color is why violins are made of wood and not plastic.
hm... - not my experience.

with the same amout of gain on the fader, i cannot hear much of a difference (if any). the position of the boosters within the signal matters though: one does not want a weak signal to travel down any long snake/go into a passive split.

however, if using any boosters at all, i'm using them to have somewhat similar gain settings across multiple mic pres when using mics with vastly different sensitivity/output level; it's not that my pres couldn't provide enough gain.

to have an adjustable impedance on (some) preamps can also be handy...
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